An antiquated phone booth, marked with graffiti and showing signs of age, gradually rises to the peak of a prominent staircase. From inside, George Alan O’Dowd steps forth with the dramatic flair of a matador about to greet the audience before facing the bull – though his red cape replaces the traditional garment with a jacket adorned in post-it notes, his hat is a bowler embellished with numerous fragmented mirror pieces, and his trousers seem to be cashing checks that would leave even the Bank of England astonished.
Boy George – yes, it is he – has never been one to shy away from extravagance. Nevertheless, this grand entrance, paired with the dynamic funk rhythm of “White Boy,” fully embodies the loud and unapologetic ethos that he and Culture Club have championed for over four decades. This stop at Leeds’s First Direct Arena amidst a characteristic wet and windy December evening – yet still nearly packed to capacity – commemorates the enduring legacy of the vintage new wave band, and the vocalist is resolute in ensuring that this nostalgic tribute resonates.
It is truly remarkable that the trio – George, guitarist Roy Hay, and bassist Mikey Craig – not only continues to perform in these massive venues but is still active after all these years. Their frontman has faced numerous personal and professional challenges throughout his career – yet, here, with his clever humor and candid self-mockery, he might just have succeeded in transforming his image from a national joke into a celebrated figure in pop culture.
This tour honors their first two albums, “Kissing to Be Clever” and “Colour by Numbers,” with both presented in consecutive order. This format, however, presents some challenges – their two biggest hits, the reggae-infused “Do You Really Want to Hurt Me?” and the country-soul sensation “Karma Chameleon,” come in quick succession mid-show, leading to a slight dip in energy that sees a handful of spectators lose interest.
Nonetheless, while he may not possess the same vocal range he once had, George’s richer, deeper timbre delivers a well-earned grit and emotion that arguably makes his performance even more impressive, notably highlighted during a piano-driven rendition of “That’s the Way (I’m Only Trying to Help You)” which he lovingly dedicates to his mother. As “Church of the Poison Mind” propels the atmosphere into high gear, his joy is palpable. “I can’t hear the heckling!” he jests. “You’ll have to yell louder!” Ultimately, this event reflects a touching and triumphant celebration.
